Robert Levin: The War is Over - A Conversation About Jazz

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[Editor's Note: Interview conducted by Eleanor Brietel, New York Editor of The Drill Press. Most of this interview, originally published on the Buzzle website, was conducted via email.]



Eleanor Brietel: You've published fiction and you also write essays on a variety of subjects. I want, however, to confine this discussion to your thoughts about jazz, a special interest of yours that has resulted in a couple of books, a lot of liner notes and numerous articles in places like Down Beat, Rolling Stone, Metronome, Jazz & Pop Magazine (where you were the Jazz Editor) and The Village Voice (where you earned a reputation as an avid—some would say, zealous—supporter of the so-called "jazz revolution" in the '60s). What got you into jazz in the first place? Who were your guides and teachers?

Robert Levin: Working at Sam Goody's record store got me into it. My father, Abner Levin, a classical music critic—he wrote a much-praised book, The Disc Book, with David Hall—was Sam Goody's partner from the early 1950s, when the Long Playing Record was introduced, into the mid-1960s. In 1954, when I was fifteen, I started working part-time at the main store (on West 49th Street, midway between the old Madison Square Garden on Eighth Avenue and the Brill Building and Colony Records on Broadway) and it was there that I met George Sprung and Joe Goldberg. George, who was the head jazz salesman, played a recording of Bix Beiderbecke
Bix Beiderbecke
Bix Beiderbecke
1903 - 1931
cornet
's for me on my very first day and, upon noting my enthusiastic response, suggested that I check out albums by Louis Armstrong
Louis Armstrong
Louis Armstrong
1901 - 1971
trumpet
, Sidney Bechet
Sidney Bechet
Sidney Bechet
1897 - 1959
sax, soprano
, Coleman Hawkins
Coleman Hawkins
Coleman Hawkins
1904 - 1969
sax, tenor
, Lester Young
Lester Young
Lester Young
1909 - 1959
saxophone
, Johnny Hodges
Johnny Hodges
Johnny Hodges
1907 - 1970
sax, alto
and Erroll Garner
Erroll Garner
Erroll Garner
1921 - 1977
piano
, among others.

I did, and I was fully hooked in a matter of weeks. Then Joe Goldberg, who came to work as a salesman at Goody's a year or two later, expanded the field of what I was listening to by turning me on to people like Charlie Parker
Charlie Parker
Charlie Parker
1920 - 1955
sax, alto
, Dizzy Gillespie
Dizzy Gillespie
Dizzy Gillespie
1917 - 1993
trumpet
, Miles, Monk, Sonny Rollins
Sonny Rollins
Sonny Rollins
b.1930
saxophone
and Milt Jackson
Milt Jackson
Milt Jackson
1923 - 1999
vibraphone
. Joe—who'd later write Jazz Masters of the Fifties—was six years older than me and a big influence. He was writing plays then and Frank Perry wanted to direct one of them—a marvelously poetic three-act play called Mexican Blues. It got as far as a backers' audition, which Joe invited me to. Zero Mostel, who was still unknown then, read one of the parts. (Joe was rooming with Jerry Orbach around that time and I remember Orbach joining us for coffee next door to Goody's just moments after he'd auditioned, unsuccessfully it turned out, for West Side Story.) Someone else who worked at Goody's, a trumpet player named Dick Schwartz—he'd recorded an album with Steve Lacy
Steve Lacy
Steve Lacy
1934 - 2004
sax, soprano
called Progressive Dixieland—also made valuable recommendations and he played an important role in how I listened.

Other guides and teachers were visitors to the store. Goody's location and enormous inventory (it stocked virtually every LP in existence and sold them at deep discounts) made it a kind of mecca, and besides all of the celebrities who came in—I recall an entrance by Marilyn Monroe very vividly—a lot of musicians and people in the jazz business showed up. I met Sidney Finkelstein, who wrote Jazz, A People's Music, Harry Lim, Martin Williams and Marshall Stearns there. And Nat Hentoff
Nat Hentoff
Nat Hentoff
b.1925
, as well. The Farmer brothers, Art and Addison, were regulars and Tony Scott
Tony Scott
Tony Scott
1921 - 2007
clarinet
, known then as the "first bebop clarinetist," would stop by often. He took a liking to me for some reason and brought me with him to a couple of his recording sessions. Lee Konitz
Lee Konitz
Lee Konitz
b.1927
sax, alto
had worked at Goody's before I did and he'd come back to buy records from time to time.

And it was at Goody's, where he was paying a call on Joe Goldberg, that I met Cecil Taylor
Cecil Taylor
Cecil Taylor
b.1929
piano
.

EB: I want to ask you about Taylor, of course, but first: Are you musical yourself? Do you play an instrument?

RL: No. I tried to play the saxophone when I was in my teens but I realized fairly quickly that I had no aptitude for it. I am on a record though. I was part of a chorus on Ornette Coleman
Ornette Coleman
Ornette Coleman
b.1930
sax, alto
's Friends and Neighbors album, which was recorded by Bob Thiele for his pre-Impulse Flying Dutchman label. On the title track, it was the chorus's job to shout, "Friends and neighbors, that's where it's at!" That line (and my reading of it) notwithstanding, Friends & Neighbors is actually a pretty good album.

EB: Was it when you realized you weren't going to be a musician that you decided to become a writer and critic instead?

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